论九色鹿本生的图文传播  

On the Graphic Communication and Literary Communication of the Nine-colour Deer Jātaka

作　　者：李小荣[1] 

机构地区：[1]福建师范大学文学院,福州350007

出　　处：《哈尔滨工业大学学报（社会科学版）》2014年第4期76-83,共8页Journal of Harbin Institute of Technology(Social Sciences Edition)

基　　金：国家社会科学基金项目(11BZW074);教育部新世纪优秀人才支持计划研究项目(NCET-11-0902)

摘　　要：《九色鹿》是著名的佛本生故事,其在中土的图文传播有同有异。从传播内容言,二者所关注的人物形象都集中在九色鹿、国王、告密者以及国王夫人身上,但文学的传播内容,总体上较图像传播更丰富些。从传播途径言,图像传播线路较为明确,可归纳为"印度→犍罗陀→中土",而文学传播似有断层。从传播时间之先后言,图像的叙事传播略早于文学传播,但文学传播持续时间更长,一直持续到宋元以后。无论图、文叙事,都受到了中土固有文化的影响。The Nine-colour Deer Jātaka is one of the famous Buddhist Jātaka stories.There are some similarities and differences of its graphic dissemination and literary communication in ancient China：（1）From the dissemination of content words,both are concentrated on characters of Nine-colour Deer,king,whistleblower and queen,but the content of literature spread,generally speaking, is more abundant than that of the images.（2）From the propagation path,the graphic is clearer than literary communication,because the former can be summarized as＂India→Gandhāra→China＂,but the latter seems intermittent.（3）From the propagation time,the graphic communication is slightly earlier than the literary communication,but the latter lasts longer than the former,until Song and Yuan dynasties.（4）Whether the image narrative or the literary narrative,both have been affected by Chinese traditional culture.

关 键 词：九色鹿本生 图像传播 文学传播 异同 

分 类 号：J209.22[艺术—美术]